Tag: Massive Attack

Single Review by William Ruben Helms

 

Earlier this year, I wrote about the up-and-coming Northern Ireland-born, Dublin, Ireland-based duo Saint Sister. And as you may recall, the act which is comprised of Gemma Doherty and Morgan MacIntrye can trace their origins to when they met while studying at the University of Dublin. They bonded over their mutual desire to create music that represented both their friendship and their “us against the world” mentality. Building upon a growing national and international profile, the duo’s Alex Ryan-produced full-length debut Shape of Silence was released earlier this year, and from album single “Steady,” the duo showcased their ability to craft an atmospheric Portishead-inspired sound centered around the duo’s gorgeous and ethereal yet heartfelt vocals.

Recently, two of Dublin’s up-and-coming underground artistrs Irish DJ and producer Kormac along with Dublin-based emcee Jafaris collaborated with the members of Saint Sister on a subtle remix/reworking of “Causing Trouble” that’s centered around the same shimmering and looped harp sample; however, while the original features big, thumping beats, the remix relies on hi-hat and shuffling beats, which puts a greater emphasis on Doherty and MacIntyre’s gorgeous vocals and Jafaris’ swaggering yet sensitive verses. And it’s done in a way in which all three vocalists sit side by side without interference — and in a way that feels natural and unhurried.  As a result, the remix finds the collaborators pushing Saint Sister’s sound more towards the direction of Tricky and Massive Attack. Interestingly, the collaboration can came about when Three Ireland invited each artist to create visually stunning music videos for one of their songs for their #MadebyMusic initiative.

“It’s good to get out of your own head and collaborate with other people, and it’s something we really enjoy doing. This one felt like it really clicked, each individual voice brought something so different,” the members of Saint Sister say in press notes. “When Kormac first sent through the remix it was like hearing it in a new context with a new lease of life. Hearing Jafaris’ verses for the first time was another brilliant moment. And playing it live is the best part. They bring so much energy to every performance, it’s always a joy to stand beside them on stage.”

“I love the idea of blending two really different artists tonality together to create something a bit different.  Producing this one was a lovely challenge as it was all about creating a space where Saint Sister’s gorgeous melodies and harmonies and Jafaris’ vocals, his delivery could sit side by side,” Kormac says of the remix in press note. “The initial idea just came from playing my piano to a glitchy loop created from one of Gemma’s harp lines. From there, it was all about bringing the sub bass to the fore and creating a couple of drops to really announce Jafaris’ vocals when they came in.”

Single Review by William Ruben Helms

New Audio: Alpines Chilly Yet Urgent Call to Action on the Environment

Comprised of Bob Matthews (guitar, production) and Catherine Pockson (vocals, piano), the London-based electro pop duo Alpines formed in 2010 and since their formation they’ve quickly built up a national and international profile as they opened for the likes of  The Naked and The Famous, Emeli Sande and Florence and the Machine — eventually signing to a major label. Once their stint within the major label system ended, instead of being overwhelmed by a sense of bitter resignation, they self-released their first two, critically applauded full-length albums 2014’s Oasis and 2016’s Another River. 

The duo’s soon-to-be-released third, full-length album Full Bloom is slated for a November 16, 2018 release through Untrue Records and the album reportedly channels some of the duo’s core influences — in particular, Prince, Aaliyah, Frank Ocean, Lauryn Hill, Aretha Franklin, Erykah Badu, D’Angelo, Kelela, 90s rave culture and Massive Attack; while lyrically the material touches upon growth, change, ecology, the every day challenges of love, acceptance and hardship. And as a result, the material finds the duo examining the inner and outer complexities of modern life, and our insecurities and vulnerabilities in a a profound mature fashion. Initially, the material was built around a basic piano idea, that they expanded upon within their Kingston-Upon-Thames studio. As the duo says, “There are tracks that lean more towards Catherine’s love of classic singer-songwriters and soul music, and others that are inspired by left-field producers and rap.”  Additionally, the material draw from Netflix’s The OA, the work of architect Rachel Whiteread, contemporary fashion and art, as well. 

The chilly yet soulful, “Full Bloom” is the album’s latest single, and the album title track is centered around Pockson’s soulful, pop belter vocals and a 90s soul meets house music-like production consisting of subtle yet lush layers of arpeggiated synths, twinkling keys, a classic house music breakbeat and a rousingly anthemic hook. And as a result, the song sonically brings Snap!’s “Rhythm Is A Dancer,” Black Box’s “Everybody Everybody” and Soul 2 Soul’s “Get A Life” among others. Lyrically, the song focuses on the fact that while things may seem difficult, that right now is the time to get it together, and save the Earth because time is a-wasiting; if we don’t, we’re all done for.  “The title is in reference to the beauty of the natural world which is so fragile,” Alpine’s Catherine Pockson explains in press notes, “as well as a nod to what we feel we have achieved musically,” after several years of graft and struggle. The song is inspired by a recently UN Climate Change report that said we have maybe a good decade or so before we irrevocably alter the environment — for the worse. “The song is about the climate crisis, our love of the earth, and how time is really running out,” states Catherine Pockson, “The refrain ‘everything has to change” is both a plea for definitive action, and a wake-up call to those who have yet to accept the reality. If we don’t completely change our way of life within the next few years, the damage to the natural world will be irreversible – some of it already is.”

Video by William Ruben Helms

New Video: The Gorgeously Cinematic Visuals for Uma E. Fernqvist’s Lush and Textured “For U”

Best known as one of the world’s most acclaimed professional dancers for more than 20 years, the Swedish-born dancer (and singer/songwriter) Uma E. Fernqvist has taken her love of movement and music to inspire her debut EP Reverse. Interestingly, the material on the recently released EP is largely inspired by Lamb, Massive Attack, and Portishead — and as you’ll hear on the hauntingly mesmerizing and lushly textured single “For U,” Fernqvist’s tender vocals ethereally float over a minimalist yet cinematic production consisting of pulsating and thumping beats, shimmering synths and atmospheric electronics; but under the chilly surface, the song trembles with a vulnerable, human need.

Directed by Joakim Envik Karlsson and Peter Svenzson and produced by  Nåck Creative, the recently released, cinematic video for “For U,” features Fernqvist and a diverse cast of dancers dancing in inky and murky shadows and brilliant sunlight, seemingly symbolizing a deeply human struggle. 

Single Review by William Ruben Helms

Several years ago, I wrote about the London-based electro rock/industrial rock trio Blindness, an act that featured Beth Rettig (vocals, programming), Emma Quick (bass) and Debbie Smith (guitar), who also had stints in Curve, Echobelly and Snowpony. After Blindness split up, Rettig started tinkering around with new music and reworking some ideas that she had lying around without much of a plan. As Rettig told me in an email, “Recently, I decided it was probably time to do something with some of the new stuff.” Debbie Smith, her former Blindness bandmate contributed guitars, along with some programming on one of the two singles, Rettig has released with her new project Where We Sleep, a project that Rettig hopes will have her working with other musicians as well. Unsurprisingly, the project draws from some of Rettig’s lifelong influences — Curve, The Jesus and Mary Chain, Black Rebel Motorcycle Club, Nine Inch Nails, PJ Harvey, Kate Bush, Massive Attack, and others.

“Veins,” the first Where We Sleep single finds Rettig collaborating with her former Blindness bandmate Debbie Smith, who contributes some thumping drum programming, arpeggiated synths and buzzing power chords in a sultry and anthemic New Wave-like song that sounds as though it were influenced by Sixousie and the Banshees and Depeche Mode. “Crawl” is a moody and atmospheric track centered around Rettig’s breathy vocals and industrial clang and clatter — and sonically speaking, the song may arguably be the most Depeche Mode-like that she’s released yet.

 

Single Review by William Ruben Helms

With the release of her attention grabbing debut single “Lemons & Limes,” which focuses on the relationship between the police and young people, the London-born and-based singer/songwriter and businesswoman Mina Rose has quickly developed a reputation for socially conscious songwriting and a sound that draws from and meshes trip-hop, dub, hip-hop and soul (in particular, the work of Gorillaz, Massive Attack, Gil Scott-Heron, Outkast and Lily Allen), as well as her own background — her mother’s side of the family claims Roman ancestry, including the famous “Queen of Kent Gypsies,” Urania Boswell Lee. Adding to a growing profile, Rose has collaborated with the likes of Tricky and Conducta, has played a set at The Great Escape Festival, and has received airplay from the likes of BBC Radio 1, BBC Radio 1Xtra, as well as nods from the likes of Spotify and Apple Music.

Reportedly, the up-and-coming British artist’s forthcoming EP London Burning finds her translating her own experiences of a changing community into material that’s rooted into present day paradoxes, as well as the consciousness of history and hierarchy in British society.  The EP’s latest single is the incredibly cinematic and moody track “Paradise,” which is centered around a Massive Attack and Tricky-like production consisting of soaring strings, stuttering beats and Rose’s ethereal yet sultry vocals — and while seemingly effortless, the song may arguably be among the most ambitious track of her young career. As the British singer/songwriter explains in press notes, “When I visualise the idea of someone getting lost in their own thoughts, I imagine them sitting in a room with red walls,” says Mina Rose. “Paradise’ focuses on our want to make this life as perfect as we can by finding escape, and the fact that a lot of the time it might appear that the easiest way to do that is to shut the world out: whether that’s from taking something heavy or cat fishing online to whatever vices you explore within the four walls of your own space, so as to tackle your demons. ‘Paradise’ is about the idea that if heaven and hell exist on earth, then finding your own heaven here in hell would be the greatest heaven of all.”

Single Review by William Ruben Helms

Perhaps best known as one of the world’s most acclaimed professional dancers for more than 20 years, the Swedish-born dancer Uma E. Fernqvist has taken her love of movement and music to inspire her debut EP Reverse. Interestingly, the material on the recently released Reverse EP is largely inspired by the 90s trip hop of Lamb, Massive Attack, and Portishead — and as you’ll hear on the hauntingly mesmerizing and lushly textured single “For U,” Fernqvist’s tender vocals ethereally float over a minimalist yet cinematic production consisting of pulsating and thumping beats, shimmering synths and atmospheric electronics; but under the chilly surface, the song trembles with a vulnerable, human need.

 

 

Single Review by William Ruben Helms

Comprised of long-time friends and collaborators Hope Sandoval and David Roback, the renowned Santa Monica, CA-based indie duo Mazzy Star formed back in 1989 and can trace their origins to the breakup of Roback’s previous band Opal. As the story goes, Roback recruited Sandoval to replace departing vocalist Kendra Smith. Of course, if you managed to come of age in the early 1990s, you’d remember the duo’s smash hit, the moody and haunting “Fade into You,” off their sophomore album So Tonight I May See as it peaked at #44 on the  Billboard Top 100 and was #3 on the  Billboard Modern Rock Tracks charts — and if I remember it correctly, it was also featured on an episode of 90210.

Sandoval and Roebuck’s follow up, 1996’s Among My Swan wasn’t as commercially successful as its predecessor, and the band went on a lengthy hiatus with Sandoval recording solo material and collaborating with Massive Attack and My Bloody Valentine’s Colm O’Coisog in Hope Sandoval and the Warm Inventions. Since 2011, Sandoval and Roback have sporadically recorded together releasing a handful of singles, 2013’s bluesy Season of Your Day, which was the first full-length effort from the duo in over 15 years, and  a 2014 Record Store Day release, “I’m Less Here.”

Slated for a June 1, 2018 release, Still EP is the first batch of recorded material in over 4 years, and the band will be playing a series of tour dates for the first time in about 5 years — and it will include their first ever tour dates in Australia, as they’ll play three dates at the Sydney Opera House. But to the business at hand . . . The EP’s first single “Quiet, The Winter Harbor” consists of gorgeous and sparse arrangement of piano, twangy guitar and gently tapped drums over which Sandoval’s imitable and achingly lonely vocals ethereally float — and much like Season of Your Day the track is a subtly bluesy/old-timey country expansion of their sound that retains the moody, late night vibes that we all expect.

Single Review by William Ruben Helms

 

Born Adrian Nicholas Matthews Thaws in Bristol, UK and currently based in Berlin, Germany, the British-born, German-based emcee, multi-instrumentalist, vocalist and producer Tricky is arguably one of the most influential and important artists of trip-hop  — both as a member of the genre’s pioneering act Massive Attack and as a solo artist, who has also collaborated with a diverse array of artists, including Terry Hall, Bjork, Gravediggaz, Grace Jones, Live’s Ed Kowalczyk, PJ Harvey, and others. And throughout his career, both as a member of Massive Attack and as a solo artist, the British-born, German-based emcee, multi-instrumentalist, vocalist and producer has a long-held reputation for being difficult to pigeonhole as his work and aesthetic draws from American and British hip-hop, rock, dub, reggae, punk rock, New Wave and ambient electronica while blurring the lines between each genre and style in an unrecognizable fashion.

Now, if you’ve been frequenting this site over the past couple of years, you may recall that I had written a bit about Tricky’s musical project, Skilled Mechanics, a project that he started almost as soon as he relocated to Berlin. And while in a conventional sense, whenever a renowned solo artist would form a band it was largely considered a sign that the artist was sick of the spotlight and desperate to fade into something much larger than themselves, Tricky’s motivations for the project was the opposite — with the idea that Tricky would take more of a leading role with a series of rotating collaborators and friends.

 

Unsurprisingly, the renowned artist and producer has also managed to work on and release solo material, including the critically applauded single “The Only Way,” which managed to be a subtle change in sonic direction with the original version nodding towards the lush, cabaret crooner sound of  Edith Piaf. He then recently, a stopped down mix of the song that emphasized the loneliness and ache at the core of the song; but along with that, Tricky had been working on the material, which would comprise his forthcoming album ununiform. Slated for a September 22, 2017 through False Idols Records/!K7 Records, the renowned trip-hop artist and producer’s 13th album reportedly finds his material reflecting a larger and perhaps more radical step forward — towards happiness and contentment, while he confront his own artistic legacy, his own family and even death.  The album’s latest single “Running Wild” features  Mina Rose’s husky yet soulful vocals singing over a moody yet lush production featuring strummed guitar, shimming strings, stuttering drum programming — but underneath the surface is plaintive and visceral longing that hasn’t been revealed to this extent in his previously released work.

 

 

 

 

 

New Audio by William Ruben Helms

Born Adrian Nicholas Matthews Thaws in Bristol, UK and currently based in Berlin, Germany, the British-born, German-based emcee, multi-instrumentalist, vocalist and producer Tricky is arguably one of the most influential and important artists in trip hop — both as a member of the genre’s pioneering act Massive Attack and as a solo artist, who has also collaborated with a diverse array of artists, including Terry Hall, Bjork, Gravediggaz, Grace Jones, Live’s Ed Kowalczyk, PJ Harvey, and others. And whether with Massive Attack or as a solo artist, throughout his career, Tricky has had a long-held reputation for being uncompromisingly difficult to pigeonhole and for being remarkably iconoclastic as his work and aesthetic has drawn from both American and British hip-hop, rock, dub, reggae, punk rock and ambient electronica and blurred lines between each genre and style.

Now, if you’ve been frequenting this site over the past two years or so, you may recall that I’ve written about Tricky and one of his musical projects — Skilled Mechanics, a project that derived its name “from a documentary about espionage,” as the renowned trip hop pioneer explained in press notes, and started almost as soon as he relocated to Berlin. In a conventional sense, when a renowned solo artist forms a band, it’s frequently considered a sign that the solo artist in question is sick of the spotlight and is desperate to fade into something much larger than themselves; however, oddly enough for Tricky, his motivations were the exact opposite. As Tricky notes, over the years, he’s received quite a bit of criticism for what fans, critics, producers and others have perceived as frustrating habit of playing second fiddle to a variety of collaborators. “People have been asking me for years, ‘Will you ever take charge vocally? Will you ever lead as the singer on one of your albums?’  On Adrian Thaws, my last album, I came to the forefront vocally. I was more in your face on three of the tracks but I wanted to build even further towards a catalogue of songs where I didn’t rely on a girl singer. But I realised it would be hard to do under the name Tricky because people would always associate that name with me using a female singer. I haven’t been alone at the front of the stage on my own since before I released my first album Maxinquaye 20 years ago. I needed to change. It is good to change and to keep on pushing yourself,” Tricky explained in press notes.

His idea was that Skilled Mechanics would be a rather loose collaborative project that would allow him to work with a variety of musicians and artists while pushing his imitable vocals to the forefront as much as possible. And interestingly enough, the project’s earliest collaborators included DJ Milo, who is not only one of Tricky’s oldest friends but also the first person the Bristol-born, Berlin-based artist ever recorded with, as well as his introduction to The Wild Bunch sound system, which eventually evolved into Massive Attack. The other early collaborator on the project is Luke Harris, who is the drummer in Tricky’s backing band — but as a vocalist. As the story goes, Harris’ vocal talents were discovered by complete accident: Harris was covering for Tricky’s regular vocalist Francesca Belmonte during a quick bathroom break during soundcheck. Tricky was so impressed by Harris that he asked him to take part in his next musical project. The trip hop pioneer and his band recorded a full-length album, Tricky Presents: Skilled Mechanics and while the album featured collaborations with with Oh Land, Ann Dao, Ivy 艾菲, Francesca Belmonte, Renata Platon, and Xdare, as well as a murky and ominous lullaby-like re-working of Porno for Pyros’ “Porpoise Head,” “Diving Away.”

Unsurprisingly, Tricky has continued to work on solo material, including the recent release of a new single “The Only Way” to critical acclaim earlier this year. Interestingly, the track managed to be a subtle change of sonic direction as Tricky pairs his vocals with a lush, 50s and 60s cabaret crooner production featuring strummed guitar, twinkling piano and a stunningly  gorgeous string arrangement — all of which give the track a cinematic sweep while subtly nodding at the work of Edith Piaf. Recently, Tricky released a new mix — a stripped down mix of the song that pairs his vocals with a murky and ambient production featuring droning and twinkling keys and ominously swirling electronics that emphasizes the loneliness and ache at the core of the song. “The mix came about by accident”  Tricky explains  “I was working on something else, playing around on the keyboard, and when I heard the 3 chords I was playing I knew instantly it was a special vibe but it didn’t work with what I was working on at the time.  So rather than finish the track I was trying to do, I carried on with this track and did vox of ‘The Only Way’ on top  —  it was just meant to be.”

Video by William Ruben Helms

New Video: The Moody Visuals for The Away Days “Places To Go”

With the release of their How Did It Start? EP to critical praise both nationally and internationally from the likes of The Guardian, SPIN Magazine,and Noisey, as well receiving airplay from renowned Seattle, WA-based radio station KEXP, the Istanbul, Turkey-based quartet The Away Days quickly established a reputation for being a the forefront of an extremely Western-influenced indie music scene, thanks in part for a sound that’s largely inspired by The Cure, Tame Impala and others. And adding to a growing international profile, the members of the Turkish indie rock quartet have toured across the UK, played at two consecutive SXSW Festivals and have played festival dates opening for Portishead, Massive Attack, Belle and Sebastian and others.

Now, if you’ve been frequenting this site over the past couple of years, you may recall that the Istanbul-based quartet have released a handful of singles that have received international attention — including this site — since the release of their debut EP. However, the band’s long-awaited full-length debut Dreamed at Dawn was released earlier this year, and landed at number 5 on the Turkish album charts, marking it both a commercial success and the highest ever chart position for a Turkish indie rock album. The Turkish indie rock band’s commercial and critical success in their homeland and elsewhere shouldn’t be surprising as Dawn’s first two singles “Less Is More” and “World Horizon” paired atmospheric and moody yet lush instrumentation and ethereally shimming synths with material that thematically and lyrically drew from the band members’ own lives in a society in which their creative desires and efforts are viewed as being suspicious and seditious.

“Places to Go,” Dreamed at Dawn’s third and latest single continues along a similar vein as its two preceding singles as it’s a lush and plaintive song featuring shimming guitar chords played through a bit of reverb and delay pedal, an angular and propulsive bass line, twinkling synths and a rousingly antthemic hook,. and in some way, sonically the song manages to mesh dance floor friendly post-punk, electro pop and shoegazer rock; however, despite the seemingly upbeat tone, the song is a look into their lives and their cohorts as it touches upon the weight their homeland’s young people feel from an oppressive and seemingly capricious regime that demands oppression and a restlessness from the lack of meaningful opportunities.

Interestingly, the recently released music video for the song is based upon a deceptively simple concept of the band performing the song in a dramatically lit studio but throughout there are vivid bursts of animation that explode across the screen.

Single Review by William Ruben Helms

New Audio: Turkish JOVM Mainstays The Away Days Return With Their Most Politically Charged Single to Date

Now, over the past couple of years, the Turkish indie rock quartet have released a series of singles that have that have seen international attention across the blogosphere, including this site where the band has added their name to a growing list of mainstay artists. Up until recently, it had been about a year since we had last heard from the renowned Istanbul-based quartet; but as it turns out, the band had been busy working on the material, which will comprise their highly-anticipated full-length debut effort. The album’s first two singles “Less Is More” and “World Horizon” were atmospheric yet lush tracks in which plaintive vocals were paired with ethereal and shimmering synths — while drawing from the band members’ lives as musicians in a society in which their efforts are viewed suspicious and seditious.

“Places to Go,” the third and latest single off the band’s forthcoming full-length debut is a lush and plaintive song featuring layers of shimmering guitar, a tight motorik-like groove and a soaring, anthemic hook — and in some way it makes the song sound as though it were inspired by classic shoegaze and contemporary pop and indie rock; however, the song manages to possess a deeply held tension as lyrically, the band draws from their lives and the lives of Turkish young people as the song touches upon the sense of frustration, boredom, oppression and conformity, lack of opportunity and their overall restlessness.

Single Review by William Ruben Helms

Inspired by The Cure, Tame Impala and others, Istanbul, Turkey-based quartet The Away Days have developed a reputation in their homeland for being at the forefront of a contemporary and extremely Western-inspired indie music scene — and interestingly enough, the How Did It Start? EP, the Turkish indie rock band was released to critical praise from internationally recognized media outlets including The Guardian, SPIN Magazine,Noisey and received airplay from renowned indie station KEXP. Adding to a growing international profile, the band has toured the UK, made appearances at two consecutive SXSW And with a growing international profile, the quartet went on a tour of the UK and made appearance at two consecutive SXSW Festivals and have opened for the likes of Portishead, Massive Attack, Belle and Sebastian and others.

 

Over the past couple of years, the Istanbul, Turkey-based quartet have released a batch of singles that have received attention across the blogosphere, including this site; however, the band has been working on the material which, will comprise their highly-anticipated full-length debut effort. Much like the album’s lush and atmospheric first single “Less Is More,” the album’s latest single “World Horizon” is a slow burning, moody and atmospheric ballad consisting of plaintive vocals paired with ethereal and shimmering synths, stuttering, four-on-the-floor drumming and equally shimmering guitars that’s largely inspired by the band members’ own lives in Istanbul,  living in “never ending lies . . .” And as a result, the song possesses a mournful air, as the song’s recognizes a loss of innocence and belief in innocence and goodness.

 

 

 

 

Video by William Ruben Helms

New Video: The Gorgeously Intimate New Video for Massive Attack’s “Ritual Spirit”

Currently comprised of Robert “3D” Del Naja and Grant “Daddy G” Marshall, Bristol, UK-based trip-hop pioneers Massive Attack can trace their origins back to when founding members Del Naja, Marshall and Andy “Mushroom” Vowles split […]

Single Review by William Ruben Helms

Best known by his stage name j. viewz, Jonathan Dagan is a New York-based songwriter, producer and visual artist, who has developed a reputation  for employing analog synthesizers, analog tapes, recordings of nature and sounds sent in to him from his fans to craft a sound that has frequently been described as nostalgic, intricate and detailed as well as collaborating with a number of guest vocalists, producers and musicians throughout his career. But perhaps just as important, Dagan has also had a long-held reputation for relentless experimentation — in fact, the New York-based multi-discipline artist gained attention for presenting a rendition of Massive Attack‘s “Teardrop” on an assortment of fruits and vegetables.

Eagan’s latest experimental project is the DNA Project, a website which, pulls the curtains open by presenting a step-by-step look at the making of his next album slated for release sometime next year — in real time. Fans and curious onlookers can follow Dagan’s creative process in its entirety, providing access to the people, places, and sounds that inspire each song, as well as exclusive videos of his writing process, recording sessions, and innermost thoughts during his creation of new music.

“Don’t Pull Away,” the latest single from the DNA Project and from the forthcoming and yet untitled album features guest vocals by Rhye‘s Milosh and production assistance from Gotye. (Check out some behind the scenes footage of j. viewz and Goyte collaborating together below. It’s actually quite a bit of fun.) The slow-burning track pairs sputtering, creaky and dusty-sounding electronics with soaring strings and gently swirling electronics with Milosh’s unhurried and sultry vocals — and in a way that’s particular reminiscent of Chet Faker‘s work (in particular “Gold” and his collaboration with Marcus Marr “The Trouble With Us“) as the single expresses an aching need and vulnerability.